Deus ex human revolution remove intro videos for speakers
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40 Amazing Video Game Soundtracks
For undergraduate courses, the distribution requirements that a course fulfills will appear in parenthesis at the end of the description. For courses offered prior to , distribution requirements are flagged using the following system: A gateway, B fiction, C poetry, D drama, E pre, F —, G —, and H literary or critical theory.
Students should consult the following list of courses that have been approved to fulfill the new literature in translation option for the undergraduate Foreign Language Requirement. Courses taken prior to or otherwise not on this list must be approved by the Director of Undergraduate Studies Timothy Campbell.
Recent work in feminist theory and feminist studies of science and technology has reopened and reconfigured questions around reproduction, embodiment, and social relations. Social reproduction theory might be an example in a different key, as might recent Marxist and communist accounts of the gendering of labor under capital.
Indeed, the work of science fiction around these questions may be a whole other story than the one told by theory. This class will ask students to think between feminist science and technology studies, theoretical approaches to questions around social and biological reproduction, and the opening up of reproductive possibility found in feminist science fiction.
Auden famously wrote. The third unit emphasizes poetries of protest and self-determination in the U. Close reading, close listening, and close watching will all be important as we read poems, listen to poets recite their work, and watch poets perform.
By the end of the quarter, students will have the vocabulary to analyze poetic technique and will have developed close reading, literary analysis, and argumentation skills. This course explores the pleasures and challenges of experiencing performance through the page. Students will read plays and performances from across the dramatic tradition closely, taking into account not only form, character, plot, and genre, but also theatrical considerations like staging, acting, spectatorship, and historical conventions.
We will also consider how various agents—playwrights, readers, directors, actors, and audiences—generate plays and give them meaning. The course culminates in a scene project assignment that allows students put their skills of interpretation and adaptation into practice.
No experience with theater is expected. Fulfills the Genre Fundamentals requirement in English. This course presents America's major writers of short fiction in the 20th century. Our initial effort with each text will be close reading, from which we will move out to consider questions of ethnicity, gender, and psychology. Writing is also an important concern of the course. There will be two papers and an individual tutorial with each student. This course offers an introduction to the fundamentals of narrative fiction, which explores concepts and analytical tools for reading and interpreting fiction, paying particular attention to the relationship between narrative, time, and history; the role of narrative in shaping both personal and national or collective identity; the relationship between allegorical and realist modes of representation; the status of fiction and of fictional characters.
Throughout, we will be alert to formal concerns about narrative voice in particular—omniscience, irony, free indirect discourse, etc. This course includes a discussion section that is to be scheduled after the class begins.
In this course we will read at least one novel from each century from the 18th to the 21st. We will also consider how some of these novels have been adapted to the cinema. Where relevant we will also consider theories of fiction, narrative, and the novel, such as those of Mikhail Bakhtin, Roland Barthes, E.
From the activist literature of the Chicano Civil Rights Movement to contemporary fiction and poetry, this course explores the forms, aesthetics, and political engagements of U. Latinx literature in the 20th and 21st centuries.
An introduction to the practice of literary and cultural criticism over the centuries, with an emphasis on theoretical debates about meaning and interpretation in the late 20th century and present. In this Arts Core course, students will be introduced to a range of the utopian and dystopian fantasies that writers have produced in response to the metropolis of London as the imperial epicenter of manufactured ecologies, from the late nineteenth century through the present day.
They will study early responses to modernism and modernization in the city by figures like William Blake, Frederick Engels, Henry James, Ezra Pound, and Virginia Woolf before moving on to contemporary writers such as R. Students will be exposed first-hand to how London is read by writers confronting planetary and political crisis through meetings with living publishers, authors, and art collectives like the Museum of Walking, grappling with the continual metamorphosis of the landscape—and through a sequence of on-site visits and psychogeographical experiments, they will have the opportunity to respond to the city in their own writing across a range of genres.
Since the s, games have arguably blossomed into the world's most profitable and experimental medium. This course attends specifically to video games, including popular arcade and console games, experimental art games, and educational serious games. Students will analyze both the formal properties and sociopolitical dynamics of video games.
Students will have opportunities to learn about game analysis and apply these lessons to a collaborative game design project. Students need not be technologically gifted or savvy, but a wide-ranging imagination and interest in digital media or game cultures will make for a more exciting quarter. What is consciousness? What is it like to be conscious? This course answers these questions by examining the emergence and development of consciousness as a concept.
As a phenomenon, consciousness probably came into being deep in evolutionary time. Yet as a concept consciousness is relatively new: the European notion of consciousness emerges in the late seventeenth century. This course draws on literature, history, philosophy, and psychology to examine how the concept of consciousness came to possess its explanatory dominance. We will start by acquiring a sense of what consciousness now means in philosophy, biology, neuroscience, and fiction, paying particular attention to how the concept differs from similar ideas in ancient Indian philosophy.
We will then turn to two important historical moments. This course stresses historical contingency—consciousness has a birthdate—in order to explore a consequence that follows from this fact: the extent to which current uses of this concept are still shaped by the historical circumstances that conditioned its emergence. Seeing hell for oneself, watching the torture of a saint, looking at illustrations of violence: these profoundly terrible experiences, narrated and drawn, shaped the way medieval readers took in the world around them, its violence, its suffering, its preponderance of evils.
But how exactly does literature allow readers to witness and process such horrors? How is the observation of violence transformed by art? What is unique about the medieval experience of these artistic and literary forms of mediation? What can they teach us about our own contemporary cultural encounters with the sights and stories of atrocity?
Margaret, the Old English Genesis, and the heroic poem Judith. These medieval texts will be read alongside thinkers like Giorgio Agamben, W.
Mitchell, and Susan Sontag, whose work on images of atrocity in the modern world will both inform our critical examination of the Middle Ages while opening up the possibility for rethinking literature and art in relation to contemporary experiences of violence. How do these texts teach us to imagine other futures and worlds for ourselves? And how do they comprehend the political utility of that act? Readings will span from prose fiction and non-fiction, to lyric and epic poetry, to drama.
Artificial intelligence is a cross-disciplinary field that seeks to imagine and develop machines able to reproduce, automate and exceed the cognitive and sensorial capabilities of biological organisms. This course will trace the conceptual genealogies that inform contemporary AI, and it will interrogate the uses and abuses of AI within social, legal, medical and creative contexts.
In lieu of a traditional midterm and final, this course will ask students to develop a series of speculative design projects that imagine new intelligent organisms and their worlds. This is creative-critical class, and will involve both scholarly and creative work. We will consider 20th and 21st century works of poetry and film that deploy repetition as a technique, and use it to produce recognition, mis-recognition, or a felt failure to recognize.
We will think together about why and how works of these time periods engage this dynamic, and what insights we might draw from reading and viewing them closely. We will also read short excerpts from several theorists and philosophers on these topics, but will primarily spend our time with poems and films.
In this course we will explore how 21st century authors of neo-slave narratives write about our present sociopolitical moment by invoking antebellum slavery to do so. What does the genre of the neo-slave narrative open up or express and what might it be saying about the relationship between past, present and future? To engage with these and other related questions, we will be looking at neo-slave narratives across various types of media, such as novels, television shows, and graphic novels along with works of theory by authors such as Saidiya Hartman and Christina Sharpe.
At the same time, Victorian literature is rife with anxiety over the certainty of progress. Jekyll and Mr. Hyde presents a scenario in which scientific advancement goes too far, accidentally producing something monstrous.
This course will interrogate the construction of the Victorian belief in progress, its ideological consequences, and its complex representation in literature. Among other questions, we will ask: How did the concept and rhetoric of progress bear upon some of the most important historical developments of the 19th century — including industrialization, imperialism, and the rise of evolutionary theory?
In what ways did Victorian novels reflect, reinforce, or complicate the notion of progress? How is the idea of progress encoded within the tropes of literary genres e.
Beginning with early modern verse, we will ramble through the long history of the pastoral mode, revisiting poetic, prosaic, and digital iterations of that rolling-hill fantasy of rural self-sufficiency and leisure.
With a few notable exceptions, illness was largely absent from life writing prior to the late twentieth century. We will pick up our story here with backward glances at some of the more influential works to see why it emerged during this period, how the topic of illness changed life writing, and how narrativizing illness changed conceptions of the body, patient advocacy and medical practice, and the social conceptions and figuration of disease.
Because illness narratives stand at the intersection of medical humanities, narrative medicine, disability studies, and life writing, we will examine all these frames in conjunction with selected works in prose narrative and graphic narrative as well as in poetry, film, and the essay. Mid to mid is the most important year in comics history. We will try to identify the various forces that made this remarkable year possible: changes in the comics business, in American politics and culture, and in the life cycle of the superhero.
What is erotic love? What lessons do these stories of environmental crisis teach us? How do different media, forms, modes, genres, and aesthetics render these topics differently? What alternative endings do these texts imagine, and what might they be missing? Given that climate change disproportionately affects the poor, women, people of color, and Indigenous communities, we will pay particular attention to marginalized voices in conversations on environmental movements, and to the roles of marginalized characters in works of fiction.
This course examines the relations among psychology, ethics, and social theory in fourteenth-century English literature. We pay particular attention to three central preoccupations of the period: sex, the human body, and the ambition of ethical perfection.
Readings are drawn from Chaucer, Langland, the Gawain-poet, Gower, penitential literature, and saints' lives. There are also some supplementary readings in the social history of late medieval England. An exploration of some of Shakespeare's major plays from the first half of his professional career, when the genres in which he primarily worked were comedies and histories.
Valuing those classics for their timeless craft but also for the situated cultural horizon that they evidence, we will explore what it means to take comedy and history seriously. Three short papers will be required. This course explores mainly major plays representing the genres of tragedy and romance; most but not all date from the latter half of Shakespeare's career.
After having examined how Shakespeare develops and deepens the conventions of tragedy in Hamlet, Othello, Macbeth, King Lear, and Antony and Cleopatra, we will turn our attention to how he complicates and even subverts these conventions in The Winter's Tale and The Tempest. Throughout, we will treat the plays as literary texts, performance prompts, and historical documents. Section attendance is required. The history of queer representation in the Anglophone world is intimately tied to the history of camp, as both a dominant style for the representation and encoding of non-normative gender and sexual positions, and a prevailing sensibility through which queer subjects might relate to the world.
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Deus Ex Mankind Divided
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NEW AND IMPROVED SHACKNEWS CHATTY HEADER
An audio commentary is an additional audio track, usually digital, consisting of a lecture or comments by one or more speakers, that plays in real time with a video. Commentaries can be serious or entertaining in nature, and can add information which otherwise would not be disclosed to audience members. The DVD medium allows multiple audio tracks for each video program. DVD players usually allow these to be selected by the viewer from the main menu of the DVD or using the remote. These tracks will contain dialogue and sound of the movie, often with alternative tracks featuring different language dialogue, or various types of audio encoding such as Dolby Digital , DTS or PCM.
Deus Ex – Game Script
This glossary chronicles all of the many idioms, phrases, allusions, and running gags the Best Friends have accumulated over the years. Their origin, meaning and alternative usages are all detailed. Suck my dick! Videogames, when Kenny bet everything on 21 and hit the jackpot. This moment can be seen here.
Audio commentary
It would have been huge shock and arguably one of the biggest letdowns in gaming in years had it not been given the pedigree of the talent that created this game. Thanks for reading! Just kidding. THAT genre. PC gamers in particular will nitpick that there are some low rez textures in some spots and frankly the graphics are good but not shock and awe Witcher 2 drop dead great, but everything looks and feels real, sometimes dingy, but authentic. It looks and feels like a real place possibly could in some ways. There is no trace of a hint of console portitis anywhere on this game. Like Bioshock the locale itself is THE star of the game.
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For undergraduate courses, the distribution requirements that a course fulfills will appear in parenthesis at the end of the description. For courses offered prior to , distribution requirements are flagged using the following system: A gateway, B fiction, C poetry, D drama, E pre, F —, G —, and H literary or critical theory. Students should consult the following list of courses that have been approved to fulfill the new literature in translation option for the undergraduate Foreign Language Requirement. Courses taken prior to or otherwise not on this list must be approved by the Director of Undergraduate Studies Timothy Campbell.
Wine Announcement
The sort of enhancer that sits between your soundcard and Windows OS and processes all audio sources, be it music, movies or games. And today, I found one by mistake. It provides specially tailored profiles for headphones, internal speakers and external speakers with specially crafted audio profiles for each. I personally prefer the Mendoza Speakers preset because it delivers the most detail and punch which is what I want for my music and games. But there are few other profiles that focus on different sound dynamics like mid range for vocals.
Best Friends Glossary
Michael McCann's resume in video game music isn't broad, but his skill is clearly evident when he composed the critically acclaimed Deus Ex: Human Revolution. Nestled firmly within the genre of epic electronica, this soundtrack is crammed full of deep bass beats and haunting choruses, a more than perfect fit for the game. Death travels to realms of angels and demons and several in between in his quest to redeem his brother in this sequel, and the music matches his every step. There is huge variety to be found here, such as the Celtic-inspired tunes of the Maker's Realm and the dark melodies of the Kingdom of the Dead. The scores that follow Death on his journey are epic in their scale and quality. I think we're all familiar with the hauntingly engrossing choruses that grace the title screens of the Halo series, but I was generally too busy plastering the walls with alien guts to pay attention to much else. Behind all that satisfying slaughter is in fact an enthralling soundtrack of military orchestral scores and vocal pieces perfectly suited for the game's space war theme.
Tomb Raider Benchmarked
For the original German review, see here. The reintroduction proves to be a complete success. The dramatic intro video, already familiar to those who have seen the render trailer, instantly pulls the gamer into the Tomb Raider universe.
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